y^ xeox DNLZNE ENRBL H ITMAN BLOOD ^V^ M O N r Y MATURE 17+ CONTENT RATED BY IesrbI /ww.reolacewenidocs.cow^ eidos. SAFETY INFORMATION ABOUT PHOTOSENSITIVE SEIZURES A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games Even people who have no history of seizures or epilepsy may have an undiagnosed condition that can cause these "photosensitive epileptic seizures" while watching video games. These seizures may have a variety of symptoms including: lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation^/ confusion, or momentary loss of awareness. Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. / Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents should watch for or ask their children about the above symptoms — children and teenagers are more likely than adults to experience these seizures. The risk of photosensitive epileptic seizures may be reduced by sitting farther from the television screen, using a smaller television screen, playing in a well-lit room, and not playing when you are drowsy or fatigued. If you or any of your relatives have a history of seizures or epilepsy, consult a doctor before playing. Other Important Health and Safety Information. The Xbox® Instruction Manual contains important health and safety information that you should read and understand before using this software. / COnTEIlTS AVOID DAMAGE TO YOUR TELEVISION Do not use with certain televisions. Some televisions, especially front- or rear- projection types, can be damaged if any video games, including Xbox® games, are played on them. 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CONTROLS OF THE PROFESSIONAL 2 XBOX Live® 3 Take HITMAN BLOOD MONEY Beyond the Box 3 Connecting 3 GETTING INTO THE GAME 3 Profile Management 3 Xbox Live® 4 Difficulty 4 A Manual for the Professional 4 Notoriety 5 UP CLOSE 4 PERSONAL 6 AGILITY 10 N Climbing 4 Scaling 10 UBTERFUGE TECHNIQUES 11 Disguises 4 Concealment 11 INGRESSION 12 Doors, Locks 4 Security 12 Distraction 14 TOOLS OF THE TRADE 15 Firearms, Situational 4 Equipment .... 18 COMPENSATION 18 Weapons 4 Tools 19 Cleaning .'■■.. 19 Recovering Surveillance Tapes 20 POST MISSION . 20 GAME CREDITS . . . ... 21 MUSIC CREDITS . . 23 COI1TROLS of the PROFESSIOflAL 7 O (left trigger! lleftthumbstiek] O (back) button O (start) button 9 (directional pad) BUTTON © Q (click, hold/release) © (click) ® */* o © < ta p> (hold/release) © (tap) (hold/release) O (tap) (hold) (pull & hold) O E» 7 / ACTION Move character; Zoom map; Highlight menu options Throw item Aim Open/Close sniper scope; View Mode switch Zoom sniper scope/binoculars; Scroll through actions/items; Highlight menu options Scroll through maps/inventory Drop item; Exit map; Exit legend; Cancel Holster/Unholster weapon Open/Close inventory Pick up item Pick up list Carry out action; Confirm View action list Crouch; Sneak Map Fire; Use weapon; Close combat Reload weapon Objectives Start/Pause game \ box Live TAKE HITMAN BLOOD MONEY™ BEYONl Xbox Live® is a high-speed or broadband Internet gaming community where you can Create a permanent gamer identity, set up a Friends List with other players, see when they're online, invite them to play, and talk to them in real time (with an Xbox Communicator Headset) as you play. Before you can use Xbox Live, you need to connect your Xbox console to a high-speed or broadband Internet connection and sign up for the Xbox Live service. To determine if Xbox Live is available in your region and for information about connecting to Xbox Live, see WWW.XBOX.COM/CONNECT s GETTII1G into the GAITIE PROFILE MANAGEMENT Before embarking on a career as a Hitman, you must first prepare a profile. The profile keeps a record of your progress and preferences, along with weaponry choices, funds and other equipment and items you acquire. From the PROFILE MANAGER screen, choose CREATE PROFILE and enter a name for the profile. If you have a previously created profile, you can select this to resume the career. You can also delete profiles you no longer want. \ DIFFICULTY Once you've created a profile, you will then choose a difficulty level: ROOKIE • NORMAL EXPERT • PROFESSIONAL For the inexperienced, and those new to the world of the assassin. There are no limitations on how many saves you can make while attempting a mission. Suitable for those comfortable with contract killing. Each mission allows seven saves. For the practiced and experienced. Only three saves per mission are permitted. For the true professional only. No saves are permitted once a mission is in progress. XBOX LIVE^ Although the professional will choose not to reveal employment history, many assassins will wish to evaluate and compare their skills against other professionals around the world. In order to submit mission data, the professional must have an online connection and have created and signed on to his Xbox Live® account before starting the mission. Then, after each successful mission, the professional will be given the option to upload mission statistics and rank himself against all those who have attempted the same. note: You can also create a new Xbox Live® account manage your Friends List, and activate the Voice Through TV feature via the Xbox Live® menu, j A MANUAL PROFESSIONAL This manual provides insight into the mind and practices of the professional Hitman. This manual refers to the Hitman as "the professional." It explores the complexities, skills and the intricacies with which "the professional" conducts his craft. The professional techniques outlined in this manual vary in complexity, and are graded by difficulty using the following ranking system: HITITIAn TECHtliaUES ADVAHCED z ^rz" ^r*- ^^ <<^ - \-> <4> -«J~> *J> *i> ^& ^^ ^^ ^& ^v* NOTORIETY ANONYMITY, THE DISGUISE OF THE PROFESSIONAL Longevity in the profession is dependent on transparency in the world. The professional seeks solace in a world where the only way to carry out this sort of work is with anonymity. • The professional avoids the blood bath wherever possible, as this attracts the unwanted eyes of the law or multiple witnesses and an audit trail to his door. • If a witness lives, the professional's notoriety increases. The professional negates this by making sure he is not discovered on a job, and that no witnesses or clues are left on the scene. • When the professional takes civilian lives, the invariable result is taped TV footage and witnesses at the scene of the crime. When this happens, the professional gains notoriety. As notoriety increases, the ease with which the professional can carry out his next contract decreases. • For further insurance against discovery in areas covered by TV cameras, the professional can make sure to destroy all video-surveillance tapes. • The professional can assess his successfulness and his notoriety following a contract through, the media. If there have been witnesses, the newspaper is his best way of finding out. The professional should look out for newspapers while on location. These may detail previous targets and missions, and may even give a clue to the professional's identity. UP CLOSE & PERSOI1AL CLOSE COMBAT The professional uses close hand combat skills to eliminate the mark with minimum noise and when dealing with unforeseen circumstances. The majority of these skills are ideal in firearm-restricted areas. 7 HEAD USE l^J Use © to position yourself in front of the victim, then pull E) to head butt your target. THE PUNCH §§ While the victim is dazed, use © to position yourself in front of your target, then press pull ITE to punch. DISARMING l^l^ Use © to position yourself in front of the armed victim, then pull |]J to disarm the person. note: During the struggle, it's possible that the firearm will go off accidentally. CONCEALING WEAPONS Whenever possible, the professional carries out his work using tools that can be concealed on his person. He has i \ x a r ' a number of tools at his disposal that, when concealed, can go undetected in most public areas. Use © to walk toward the mark, hold © to access the inventory and then select a firearm. Pull Mzh to discharge the firearm, then tap © to holster and conceal it. FIBER WIRE I* The fiber wire is the 'most difficult of your weapons to use but the easiest to conceal. It is also the quietest and most efficient tool to use to avoid raising an alarm. Select the fiber wire from inventory, then pull and hold P to tighten the fiber wire and automatically enter sneak mode. Use © to maneuver _^ ^^ behind the mark, then release Hi to strangle the victim. \ note: If you are spotted or you fail to execute this move in one fluid movement your intended victim may become alerted, and attempt to raise an alarm or attack! efl- f ELEVATOR The professional often looks for secluded areas away from TV cameras and civilian witnesses to eliminate a guard \ or mark. Elevators provide an excellent space in which to do this. While in an elevator, access the roof hatch by pressing pull © . Equip the fiber wire from inventory, and then look toward the open hatch. While a victim is visible below, press © to strangle and pull the mark up and out of the elevator. KNIVES I^HI^H Knives are another silent, easy to conceal, efficient means for the professional to eliminate the mark. \ I'r 5 */; Select the knife from inventory. Pull and hold %3 to enter sneak mode, and sneak toward the mark. When you're behind the victim, pull D to silently slit the mark's throat. To throw a knife, use the CJ to aim at the victim, click and hold ©, then release © to kill your mark. If <*l SYRINGES I^II^M The professional uses two types of syringes. The sedative syringe (non lethal) is an effective means of sedating guards and civilians obstructing your path. This reduces your notoriety by limiting the amount of civilian casualties. Use the poison syringe (lethal) either to eliminate a mark directly or to administer poison to food and drink, allowing you to terminate the mark from a safe distance. ^^^^^^ Select a syringe type from inventory, and then pull (9 and use © to sneak up behind the victim. Once behind the mark, pull E9 to inject poison into the victim's neck. POISON f^ll^l The professional often studies behavioral patterns, and then uses poison to eliminate the mark with clinical precision from a safe distance./ Stand in front of the food or beverage, open the inventory and select the required syringe. Use © to aim the crosshair at the food or beverage, and pull E9 to poison the item. note: The professional will use any means at his disposal to gain the strategic advantage required to successfully execute his contract. HUMAN SHIELD 10 When backed into a corner, the professional must take every advantage to safeguard his exit from the scene; this may mean using a human life as a protective shield. Equip a concealable firearm from inventory, then approach the victim from behind and press © to grab the mark and use him as a human shield. Press 9 to reload the firearm while holding a human shield. usefuli Iness is over. When out of danger, press © again to knock the human shield unconscious, or press © to push the human shield to the floor once his JUMPER f^lf^l The professional can use the veil of suicide when offered a huge height and a target. Walk up behind the mark. When you're close enough, pull Qf to push the mark over a ledge or railing. 10 AGILITY TRAVERSING THE ENVIRONMENT The professional looks for the most anonymous path through the environment and will exhaust all possible avenues of access to the mark in preparation for a contract. CLIMBING 8c SCALING i JUMPING WALLS \M Using ©, first approach the wall, then push forward toward it to automatically jump it. JUMPING BALCONIES Using ©, approach the balcony, then push forward toward the edge to automatically jump across it. CLIMBING THROUGH WINDOWS Using ©, approach the open window, then push forward toward it to automatically climb through. WALKING A LEDGE Approach the ledge, then push toward it to automatically climb onto it. c II CLIMBING DRAIN PIPES Approach the drainpipe, then push toward it to automatically climb onto it. Push Q #/#- to ascend/ descend. Pull Q to drop off the drain pipe. 'II 111 'd_ CLIMBING LADDERS l*H Approach the ladder, then push toward it to automatically climb onto it. Push Q #/# to ascend/descend. Pull (9 to drop off the ladder. rm SUBTERFUGE TECHI1IQUES DISGUISES & CONCEALMENT The professional will often apply subterfuge techniques to evade detection and introduce the element of surprise to an unsuspecting mark. DISGUISES S^S The professional seeks anonymity on a contract, acquiring disguises from rooms and changing areas, and opportunistically from the people wearing them. Disguises allow the professional to infiltrate and move undetected through areas of high security. Similarly, when dressed as a worker, the professional carries the tools of that profession and can use them as weapons without raising suspicion. For example, as a workman the professional will carry hammers and nail guns; as a gardener he will carry shears; and so on. Stand near a dead or unconscious body, then press © to change into the disguise. IB CONCEALING BODIES The professional carries out his work exercising discretion. When unplanned terminations are made during a contract, the professional quickly seeks out a hiding place to conceal the body or bodies. Stand near a dead or unconscious body and press Q to begin dragging it. Press © to drop the body. DISPOSING OF BODIES On more complicated contracts, unplanned casualties may occur. These terminations can jeopardize cover, alert security and arouse suspicion in the mark. The professional avoids this at all costs, quickly adapting to the environment, disposing of bodies in freezers, wardrobes, showers and badly lit areas. / Stand near a dead or unconscious body and press Q to drag it. Press Q to open the lid of a container, then press Q again to dump the body inside. iriGRESsion DOORS, LOCKS & SECURITY The professional is an expert locksmith with a number of specialist tools and distraction techniques at his disposal to gain access to the most highly secured areas. SURVEILLANCE A COMMUNICATION TECHNIQUES Knowledge is integral to the professional's survival. Every detail is meticulously researched so that all possible scenarios, exits and escape routes are thoroughly explored. IS SURVEILLANCE LJ The professional will often scope out a room before entering it, negating any unnecessary surprises and ensuring that nothing is left to chance. Using Q, approach the door. Pull and hold Q to crouch in front of it, then press Q to look through the keyhole. Press Q again to exit keyhole view. \ \ COMMUNICATION N^ The professional often applies subtle communication techniques on staff members to gain layout and location information. Walk up to the person and press Q to initiate conversation. \ EH9 LOCK PICKS ^dL> The lock pick is a default tool used by the professional on every job; it is easily concealed and is not detectable by hand-held or walk-through detection devices. The professional can also purchase more enhanced lock picks for slicker, speedier access. Approach a locked door and press Q to begin picking the lock. an ; KEY CARDS 4 READ/WRITE DEVICES In areas of high security, the professional requires access key cards to gain access to the mark. You can steal key cards from rooms or security when on a contract. \ Approach the locked door and press Q to equip the key card and open the door. M BREAKING LOCKS ^ Things occasionally go wrong on a job and the professional needs to gain quick entry to an area without time to use a lock pick. When faced with no other option, you can gain access by shooting the door lock. (This only works on conventional door locks and not on key card areas.) This is the riskiest solution as the noise of shooting the lock may alert security or result in discovery of a damaged door. Select a firearm from inventory, walk up to the door, and use Q to aim the crosshair at the lock. Pull l:W to fire and break open the lock. HIDING IN THE CLOSET ^ Stand in front of the closet and press Q to enter it. Press Q when inside the closet to exit. DISTRACTION 10a / Using a range of distraction techniques, the professional gains extra time on a contract and access to high security areas. / COINS A THROWN ITEMS The professional will often throw an item such as a coin into a guarded / area to force security to investigate the created distraction. The professional often uses these techniques to lessen civilian and security casualties, or to enable an undetected passage into high security areas. Select a coin from inventory (or equip another small item to throw) then click and hold Q to prepare to throw. Use Q to aim the crosshair, then release Q to throw the item. IS 'A MANIPULATING LIGHT The professional can use a firearm to shoot out lights and shut down power junction boxes to plunge an area into darkness, forcing security to investigate. The professional will manipulate light wherever possible to remain anonymous. Stand in front of the switch or junction box and press Q to plunge the room or area into darkness. You can also destroy lights. Equip a firearm from inventory, use Q to aim the crosshair at the light source and pull HW to fire a shot and destroy it. \ TOOLS of the TRADE Tools are the only things in the professional's life that can be truly relied upon. The professional studies and masters each of his tools so that he can use the correct application on every contract — guaranteeing anonymity and minimum exposure in the field. r IREARMS, SITUATIONAL & EQUIPMENT stoL PISTOLS 4 HANDGUNS The professional opts for the pistol and handgun for their power and size. Pistols and handguns are easily concealed, and once silenced become a highly effective means of eliminating the mark. The professional uses these weapons only in close proximity to the mark, since they offer limited clip capacity and accuracy over long distances, rU ASSAULT RIFLES The professional opts for assault rifles as an option only when cornered or in clutch situations. The size and noise of the assault rifle makes it very difficult to conceal. In its favor, the assault rifle offers a range of 300m but must be used with single shot and burst fire to afford any kind of accuracy. X 16 SUB-MACHINE GUNS The sub-machine gun offers the professional a high rate of fire and lightweight maneuverability when in close proximity to the mark. The sub-machine gun is the least subtle choice when on a job and doesn't offer the accuracy or anonymity of a silenced weapon. SHOTGUNS The shotgun is devastating in close quarters but makes a lot of noise! The professional will only resort to using this type of weapon when backed into a corner or as a last resort. SNIPER RIFLES The professional's choice, the sniper rifle is the most powerful and accurate means of eliminating the mark. This weapon can be silenced and used long distance from a safe vantage point, then broken down into a concealed briefcase. The sniper rifle is the favorite weapon of the professional and, when mastered, is the deadliest ally. REMOTE BOMBS The remote bomb is another useful tool which the professional can plant in a mark's room and then detonate from a safe distance. The professional uses explosives intelligently and strategically to eliminate the mark. 17 ■!•; Ml RIGGING BOMBS An explosive device placed on the fixing point of a chandelier not only eliminates the mark successfully, but is also initially perceived as an accident, ensuring your smooth exit from the scene. There are other ways a professional can choreograph a hit to be perceived as "accidental." See ENVIRONMENTALIST below for an example. ^^^^^^ \ THE FALL The professional looks for opportunistic suspended items that could demolish a mark. These can be brought crashing down with clever use of explosives, or by shooting glass or fixture points using a high-powered weapon such as a sniper rifle. ENVIRONMENTALIST The professional has an eye for ingenious ways of dressing a hit as an accident. For example, when in a kitchen, the professional notices the gas burner and its explosive potential. He weighs every opportunity and makes the hit look like a freak accident whenever possible. BINOCULARS The professional's best tool for surveillance work. Binoculars provide an excellent tool for surveying and spying on the mark's behavioral patterns from safe distances. \ MISSION BRIEFING The professional carries the mission briefing throughout the contract so that he can refer to objectives and mark information at will and leave nothing to chance. \ MAPS Detailed maps and intelligence are paramount to the success of a contract. The professional uses maps as his main navigational means. The map's attention to detail ensures that he never gets lost and that detailed intelligence on guards, security and the mark's location are always at his fingertips. The professional can buy additional info and intel on more complicated jobs to ensure that everything goes smoothly. This additional data is always included on the map. 18 comPEnsATion PAYMENT The professional takes payment in unmarked bills, which he can easily transfer to an offshore bank account, avoiding detection. The professional is paid according to risk and the social or political prominence of the mark. The higher the profile and complexity, the higher the price. The professional often receives bonuses for executing a contract quickly, smoothly and without trace. The professional can earn additional cash by retrieving suitcases and money from safes on the scene. note: Replaying a mission can earn you more money; however, you will only receive the difference between the initial and new earnings. SPENDING The professional leads a frugal existence, preferring not to draw attention to himself with extravagant spending. The professional can choose to spend money on new tools, information and — when required — cleaning services on contracts that went badly with high civilian casualties. INTELLIGENCE Before beginning a contract, the professional can choose to purchase information aiding completion of mission objectives and concerning the mission as a whole. He can also purchase target location information (room location, behavior, next expected location) and access information (disguise requirements, location of off-limit areas, key-carded doors, frisk and search points, possible smuggle opportunities). The professional often tries to purchase structural information for the location in question. 7 PURCHASING AGENCY PICKUPS The professional can purchase additional items to aid completion of the contract. These are placed and marked on the map as Agency pickups. The Agency may sometimes employ a contact to deliver valuable information. IS WEAPONS & TOOLS The professional often elects to purchase upgrades in the form of specialized weapons. These weapons are always untraceable, so they have to be ordered through a trusted fence before purchase. The professional chooses the highest-quality tools and weapons on the market: ADVANCED LOCK PICKS • ADVANCED BINOCULARS ADRENALINE KEVLAR VEST PAINKILLERS \ Allows the professional to pick locks faster; allows access to key-carded doors without the relevant key card; requires additional time. Incremental zoom, with better overall vision capabilities and digital distance counter. Restores partial health. Allows the professional to absorb some projectile hits. Provide a small health boost. The professional performs all his own cleaning where possible, but occasionally is forced to hire external help if he has had to make an emergency exit when a contract has gone badly. He can take care of non-disposed-of bodies and use bribes to reduce notoriety. note: Replaying a mission and finishing with a lower notoriety value than originally awarded in turn lowers your current notoriety level. BO RECOVERING SURVEILLANCE TAPES The professional meticulously plans the contract ahead using information provided in the Agency's mission briefing. From the briefing, the professional knows where TV cameras are located, but sometimes under pressure he is forced to perform an unplanned action that may be caught on camera. The professional always (circumstances allowing) carries out his own cleaning on an untidy contract The professional locates the TV control room and removes all evidence. Stand in front of the recording unit and press Q to remove the tape. AITIE CREDITS I- < B u I- post mission Once the professional has successfully completed a mission, he will often need to address several expenses. These cover a number of different circumstances, for example the retrieval and replacement of items left at the scene, such as suits and custom weaponry. It may also happen that potential witnesses have been left at the scene. These can both jeopardize your anonymity and make future contracts that much harder to complete efficiently. Additionally, the unlawful killing of innocents and law enforcement officials will raise the profile of completed missions. This is also an expense to the professional; the Agency charges him for the killing of innocent civilians and officers in duty. Unnecessary publicity is bad for business and this contributes tb the final Damage Control penalty, displayed post mission. The professional can handle all expenses (both mandatory and optional) upon successful completion of the mission. Game Director Rasmus Hojengaard ', Technical Producer Martin Amor Art Director Tore Blystad Gameplay Director Peter- Fleckenstein Produceh, Helle Marijnissen Programmers Jens Bo Albretsen Brian MeideH Andersen Marcell Baranyai Carsten Briigm'ann Zoltan Buzath \ Bo Cordes Neil Coxhead Theo Engell-Nielseri. Chris Gilbert Martin Harring Morten Heiberg Michael Holm Morten Suldrup Larsen Peter Malnai Peter Wraae Marino Sandor Nyako Stein Nygard Lars Piester Mads 0sterby Olesen Rasmus Sigsgaard Jens Skinnerup Hakon Steino Jeroen Wagenaar Artists Jacob Andersen Tobias Biehl Marek Bogdan Svend Christensen Timothy Evison Peter Fleckenstein Thor Frolich David Giraud Allan Hansen Bo Heidelberg Tom Isaksen Soren B. Jensen Sascha Jungnickel Jesper Vorsholt Jorgensen Rasmus Kjaer Sebastian "Vlad" Lindoff Oskar Lundqvist Stephan Nilsson Mads H. Peitersen Anders Pedersen Jesper Kieler Petersen Alexander Pshenichniy Birgitte Bay Overgaard Thomas Storm Gyorgyi Szakmar Animators Barbara Bernad Frederik Budolph-Larsen Jens Peter Kurup Soren Lumholtz Frederic Poirier Martin Poulsen Thomas P Theede Gameplay Scripters Jesper Donnis Jonas Lind Thomas Lofgren Jacob Mikkelsen Sound Designers Ivan Brandt Thomas "Tomzen" Dietl Simon Holm Michael Ziegler Engine Programmers Rune Brinckmeyer Micky Kelager Christensen Kasper Engelstoft Karoly Farago David Guldbrandsen Karsten Hvidberg Michael Bach Jensen Asger Mangaard \Mircea Marghidanu Allan Merrild Morten Mikkelsen Kasper Hoy Nielsen Martin Pollas Joft Rocatis Herrning Semler Gyula "Luppy" Szentirmay Torste^n Kjaer Sorensen Andreas Thomsen Script Writer Greg Nagan Additional Programmers Peter Andreasen Jesper Christiansen Henrik Edwards\ Martin Gram Martin Liitken Michael Juel Nielsen' Additional Artists Michael Bing Alan Cameron Boyle Morten Bramsen Miklos Bute Johan Flod Henrik Hansen Mads Prahm Morten "Mazy" Hedegren Michael Heilemann Balazs von Kiss Peter von Linstow Roberto Marchesi Peter Eide Paulsen Rasmus Poulsen :lsen SI Additional Animators Anders Haldin Gabor Horvath Craig Kristensen Martin Madsen Doron Meir Simon Sonnichsen Kim Zoll Additional Sound Designer Peter Wendelboe Hansen Additional Engine Programmers Thomas Jakobsen Ulf Johansen Steffen Toksvig Additional Script Writer Morten Iversen Music Composed and Produced by Jesper Kyd (Score) Performed by the Budapest Symphony Orchestra (Score) QA Petronela Cimpoesu Hugh Grimley Klavs Kofod Janus Rau Oliver Winding Additional QA Natasza Ashkanani Christian Egense Mikkel Havmand Frederikke Hoff Uffe Holm Tatiana Hojengaard Marja Konttinen Jakob Mygind Thomas Moller Kristian Rise Jakob Rod Management Janos Flosser Morten Borum Support Mette Agerbaak Else Andersen Michael Andersen Ulla Andersen Anni Greve Andersen Fredrik Ax Jakob Bondesen k Charlotte Delran *• Chris Edgar Peter Fischer Caecilie Heising Thomas Howalt Tantiana Hojengaard Niels-.Jorgensen Soren Reinhold Jensen Christdffer Kay BB Ul Support (continued) Jorgen Larsen > Tamir Lomholt Karsten Lund Ulf Maagaard ^ m Foad Mojib 1- Jonas Nielsen Rune Petersen Mads Prahm /-> Genevieve Ripeau TJ Niels Ole Sorensen < 3 c Martin Schroder Christine CT Tharup a Kjartan Vidarsson Voice Casting & Direction (US) Ul C KBA Voice Production Featuring the Voice Talents of H o David Andriole w David Bateson C Barbara Bernad Brian Beacock Joan M. Bentsen ^" Michael Benyer 1 Nicole Black Scott Bullock Billy Cross Christopher Curry ™ Vinny Curto Mark Deakins Christine Dunford Wayne Duvall in o ui CEO Jane Cavanagh Commercial Director Bill Ennis Financial Director Rob Murphy Company Secretary Anthony Price Head of European Publishing Scott Dodkins Product Acquisition Director ■ Ian Livingstone Worldwide CTO Julien Merceron f Development Drirector Darren Barnett Executive Producer f Neil Donnell Assistant Producer Adam Lay Alfred Fair Crispin Freeman Jorge Garcia Grant George Jessica Gee Bob Glouberman Francois Eric Grodin Nemi Fadlahllah Jean Claude Flamant Thor Frolich Heather Halley Danielle Hartnett Stew Herrera Tish Hicks Stephani Hodge Tray Hooper Roger L. Jackson Peter Jessop Bill Jurney Barry Gordon Mc. Kenna Mark Klastorin Celestino Lancia Noah Lazarus Micheal Lindsay Deborah Marlowe Jennifer Martin Don Mathews Vivienne McKee Jim Meskinen Ennis Morris Bob Neches Byrne Offutt Creative Development Director Patrick O'Luanaigh Head of Global Brand Larry Sparks BrandManager Kathryn Clements Head of Support Services Flavia Timiani /Senior Localisation Manager Monica Dalla Valle Localisation Manager Alex Bush Creative Manager Quinton Luck Senior Designer Jodie Brock QA Manager Marc Titheridge QA Supervisor - Functionality John Ree Jeremy C. Petreman Carlos Reig Plaza / Billy Pope Earth Miller Bernard Reeves Sam Riegel Daniel Riordan Paul Rugg Sam Sako Pete Scherer Karen Strassm.an Mathew Stravitz Miles Stroth' Jim Thornton Trey Turner Sal Viscuso Wade Williams Laura' J. K. Wrang Voice Recording Studio (US) Studiopolis Mocap Actors ,' Christopher (Jack) Corcoran, / Tina Robinson, Bo Thomas, Jamie Treacher Cellist Helle Sorensen Additional Artwork Supplied by Mine Loader Software Co., Ltd. QA Lead Technicians David Haddon Germaine Mendes Shams Wahid QA Technicians Richard Acherki Steve Addis Linus Dominique Allen Elliott Steve Inman Carl Perrin William Wan Special Thanks A big thanks to all our European Marketing, Sales and Web teams as well as our Finance department who have done a wonderful job to make this game happen. Your tremendous work is much appreciated. A big thanks also to Tom Waine for writing this manual. cn Ul CEO & President, Eidos North America Bill Gardner Executive Vice President of Marketing & Sales Robert Lindsey Vice President, Legal & Business Affairs James O'Riordan Vice-President, Finance Malcolm Dunne Vice President, Human Resources Edie Dykstra Marketing Manager Jefferson Dong Public Relations. Director Michelle Seebach Curran Public Relations Manager Tali Fischer Online Public Relations Specialist Matt Dahlgren National Sales Manager Joe Morici Channel Marketing Manager \ Janty Sumimoto Senior Channel Marketing Specialist liana Budanitsky Channel Marketing Project Manager Diane Eng Channel Marketing Coordinator Rafal Dudziec Director of Marketing Communications Stephanie Lipetzky Creative Services Project Manager Eileen Buenviaje Media Specialist Micheal Tran Graphic Designer James Song Web Producer Roderick Van Gelder Web Designer John Lermer Operations Manager Gregory Wu Senior External Producer Nick Goldsworthy Associate Project Manager Clayton Palma QA/CS Manager Mark Cartwright \ mUSIC CREDITS a \ Music sou reed by B3 CS Supervisor Sean McCloskey CS Agents Adam Braswell Richard Campbell Senior QA Technician Stephen Cavoretto Assistant Lead QA Technician Richard Hartzell Quality Assurance Katie Bieringer Richard Campbell Nicholas Cooprider Ergin Dervisoglu Kip Ernst Stephanie Greer John Hayes Mackenzie Hume Nick Jacobson Aaron Keillor Erik Kennedy Chester Lee Jeff Lowe Joshua Pfeiffer Special Thanks Jordan Romaidis, Patrick Goodspeed, Annie Meltzer, Sean Mylett, Petrol Advertising, Shane Francis Co., Danny Jiang, Susan Kwon, Jason Bergquist, Hanshaw Ink & Image "Double Trouble" Performed by John Mayall's Bluesbreakers Courtesy of The Decca Record Company Ltd Licensed by kind permission from the Film & TV licensing division. Part of the Universal Music Group. "Double Trouble" composed by Otis Rush. Published by Conrad Music, A Division of Arc Music Corp. "White Noise" performed by The Vacation. Written by Ben Tegal & Steve Tegal. Produced by Tony Hoffer. Published by Chrysalis Music Limited. Appears by kind permission of Chrysalis Music and The Echo Label (P) & (C) The Echo Label Limited 2004 Taken from the album Band From World War Zero Published by Zenith Publishing Ltd. © 2003 Zenith Publishing Ltd. Written by P Watts/S Gillett/ J Reeve. Performed by "Airbiscuit" from the album Caldo-Freddo. Recording Copyright 2003 Zenith Cafe Ltd www.airbiscuit.net — www.zenithcafe.co.uk firstname.lastname@example.org "Tomorrow Never Dies" (Karaoke version) Music: RosendahJ/Christensen. Lyrics: Rosendahl/ Rosendahl\ Performed by Swan Lee. Karaoke version sung by Barbara Bernad. "Tomorrow Never Dies" (Original version) Music: Rosendahl/Christensen. Lyrics: Rosendahl/ Rosendahl. Performed by Swan Lee. Original version sung by Pernille Rosendahl Franz Schubert (1 797): "AveMaria." The work is in the Public Domain.' Artists: Daniel Perrett, Soprano. Praxedis Riitti, Soprano. From the alburn, Tudor4 7029 Ave maria. Ziircher Sange'rknaben. Conductor: Alphons von Aarburg. © 1 9"95 Tudor Recording AG, Zurich/Switzerland "Slasher" Music and lyrics: Bo Heidelberg & Kim G. Hansen Performed by institute for the Criminally Insane Register online at www. eidosregistration.com EIDOS, INC., LICENSE & LIMITED WARRANTY Eidos, inc., warrants to you, the original purchaser of this disc, that for a period of ninety (90) days from the date of your purchase, this disc shall be free from defects in materials and workmanship. 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